1 00:00:03,040 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:09,760 --> 00:00:12,879 Speaker 2: Hey, welcome to Stuff to Blow your Mind a listener mail. 3 00:00:13,000 --> 00:00:14,440 Speaker 2: My name is Robert Lamb. 4 00:00:14,320 --> 00:00:17,279 Speaker 3: And I'm Joe McCormick, and it's Monday. So we're going 5 00:00:17,320 --> 00:00:19,600 Speaker 3: to be reading some messages from the Stuff to Blow 6 00:00:19,640 --> 00:00:22,680 Speaker 3: your Mind mail bag. If you have never gotten in 7 00:00:22,720 --> 00:00:25,520 Speaker 3: touch with us before, why not give it a try sometime. 8 00:00:25,920 --> 00:00:29,040 Speaker 3: You can email us at contact at stuff to Blow 9 00:00:29,080 --> 00:00:32,640 Speaker 3: your Mind dot com. Any kind of messages are fair game. 10 00:00:32,720 --> 00:00:35,839 Speaker 3: We always like feedback to recent episodes. If you want 11 00:00:35,880 --> 00:00:38,960 Speaker 3: to add something interesting to something we've talked about on 12 00:00:39,000 --> 00:00:41,320 Speaker 3: the show, or if you want to request a topic 13 00:00:41,360 --> 00:00:44,800 Speaker 3: for the future, if you want to send a general 14 00:00:44,920 --> 00:00:49,560 Speaker 3: feedback or corrections. Of course, if need be all fair game. 15 00:00:49,720 --> 00:00:52,640 Speaker 3: Contact at stuff to Blow your Mind dot com. 16 00:00:53,159 --> 00:00:54,880 Speaker 2: Yeah, try it, you might like it now. 17 00:00:55,160 --> 00:00:58,240 Speaker 3: I mentioned this on last week's Male episode. We have 18 00:00:58,320 --> 00:01:01,840 Speaker 3: been getting a lot of message in response to our 19 00:01:01,920 --> 00:01:05,880 Speaker 3: series on childhood amnesia. Specifically, we were asking about people's 20 00:01:05,920 --> 00:01:10,920 Speaker 3: earliest memories, and boy, that's really been pouring in. So 21 00:01:11,200 --> 00:01:13,760 Speaker 3: we will still we will probably be working through those 22 00:01:13,800 --> 00:01:16,200 Speaker 3: messages for quite some time. There is no way we're 23 00:01:16,200 --> 00:01:18,440 Speaker 3: going to be able to read them all today, but 24 00:01:18,480 --> 00:01:21,679 Speaker 3: we'll try to make some headway and read several here. 25 00:01:22,120 --> 00:01:25,119 Speaker 2: Yeah, and just as usual, we have to remind everyone 26 00:01:25,160 --> 00:01:28,560 Speaker 2: we can't read everything on these episodes, especially when the 27 00:01:28,560 --> 00:01:32,520 Speaker 2: floodgates really open, but we do read everything at least 28 00:01:32,840 --> 00:01:36,200 Speaker 2: off the mic as it comes in. So yeah, keep 29 00:01:36,240 --> 00:01:38,080 Speaker 2: it coming regardless. 30 00:01:37,800 --> 00:01:40,280 Speaker 3: Right, and even if your message is not featured on 31 00:01:40,400 --> 00:01:42,600 Speaker 3: the show, we still do appreciate everything we get. It 32 00:01:42,640 --> 00:01:44,520 Speaker 3: always means a lot when people take the time to 33 00:01:44,800 --> 00:01:49,360 Speaker 3: write in. Absolutely, let's see this first message about childhood 34 00:01:49,360 --> 00:01:59,600 Speaker 3: amnesia comes from Mattay. Matey says, Hello, I recently came 35 00:01:59,640 --> 00:02:02,040 Speaker 3: across your podcast and I think it's great. I'm a 36 00:02:02,080 --> 00:02:04,720 Speaker 3: truck driver, so I'm always looking for new things to 37 00:02:04,760 --> 00:02:07,880 Speaker 3: listen to, and you guys will definitely be a continuing 38 00:02:07,920 --> 00:02:11,320 Speaker 3: part of that. Thanks Mite. I just listened to part 39 00:02:11,360 --> 00:02:13,640 Speaker 3: one of your memory episode and I want to share 40 00:02:13,760 --> 00:02:16,600 Speaker 3: some of my earliest memories. I'm in somewhat of a 41 00:02:16,680 --> 00:02:19,960 Speaker 3: unique position because I can one hundred percent verified that 42 00:02:20,040 --> 00:02:23,760 Speaker 3: these memories occurred before I turned four. This is because 43 00:02:23,840 --> 00:02:27,400 Speaker 3: I was born in Germany and then we moved to 44 00:02:27,480 --> 00:02:31,040 Speaker 3: Canada shortly before I turned four. My fourth birthday was 45 00:02:31,080 --> 00:02:34,800 Speaker 3: celebrated in Canada. I have many memories from Germany, but 46 00:02:34,880 --> 00:02:38,040 Speaker 3: one is particularly interesting because it was verified by my 47 00:02:38,160 --> 00:02:40,920 Speaker 3: mother years ago when we were talking about memories and 48 00:02:40,960 --> 00:02:44,280 Speaker 3: she was shocked that I could remember this random event. 49 00:02:44,639 --> 00:02:47,800 Speaker 3: I was in daycare wearing a red sweater and I 50 00:02:47,840 --> 00:02:51,480 Speaker 3: got glue on the sweater, and I remember being scolded 51 00:02:51,480 --> 00:02:54,760 Speaker 3: by my mother for not being more careful. Memory has 52 00:02:54,760 --> 00:02:58,680 Speaker 3: always fascinated me because I used to speak German and 53 00:02:58,760 --> 00:03:02,880 Speaker 3: I have memories with German friends, yet the language is 54 00:03:02,919 --> 00:03:06,720 Speaker 3: completely foreign to me. It's as if my brain completely 55 00:03:06,840 --> 00:03:10,560 Speaker 3: over wrote German as I learned English in Canada. It 56 00:03:10,680 --> 00:03:13,920 Speaker 3: might be interesting to note that we always spoke Slovak 57 00:03:14,000 --> 00:03:18,120 Speaker 3: at home because we are of Slovakian heritage, So perhaps 58 00:03:18,200 --> 00:03:21,280 Speaker 3: there's only so many languages an infant or toddler can 59 00:03:21,360 --> 00:03:24,880 Speaker 3: hold on to at one time. As for my earliest 60 00:03:25,040 --> 00:03:28,720 Speaker 3: jar memory, that would be this is referring to. There 61 00:03:28,800 --> 00:03:31,799 Speaker 3: is a type of test done in some psychological studies 62 00:03:32,160 --> 00:03:35,320 Speaker 3: of memory, where it's called a word Q test, where 63 00:03:35,640 --> 00:03:37,839 Speaker 3: you will say a random word and you will say, 64 00:03:37,840 --> 00:03:40,600 Speaker 3: tell me a memory associated with this word, and then 65 00:03:40,680 --> 00:03:44,480 Speaker 3: you'll see what ages people produce. Memories from if you 66 00:03:44,520 --> 00:03:46,760 Speaker 3: give them a bunch of these kind of prompts. And 67 00:03:47,040 --> 00:03:49,200 Speaker 3: one of the words we talked about was jar. Rob, 68 00:03:49,240 --> 00:03:51,960 Speaker 3: you had a memory of, I think, pulling cherries out 69 00:03:52,000 --> 00:03:54,520 Speaker 3: of a jar before you were old enough to be 70 00:03:54,600 --> 00:03:55,880 Speaker 3: allowed them. Yeah. 71 00:03:55,920 --> 00:03:58,240 Speaker 2: Absolutely, Yeah. I think it sounds like a good prompt 72 00:03:58,240 --> 00:03:59,880 Speaker 2: because I think that we grow up in a world 73 00:04:00,240 --> 00:04:03,320 Speaker 2: with jars around. Jars have things in them that we want, 74 00:04:03,480 --> 00:04:05,960 Speaker 2: so it seems like we would have we would tend 75 00:04:06,000 --> 00:04:06,800 Speaker 2: to have those memories. 76 00:04:07,040 --> 00:04:09,920 Speaker 3: Anyway, back to Mate's message. Matesas as for my earliest 77 00:04:09,960 --> 00:04:12,119 Speaker 3: jar memory, that would be from when I was six 78 00:04:12,240 --> 00:04:16,120 Speaker 3: years old or in the first grade. We loved nutella. 79 00:04:16,200 --> 00:04:18,520 Speaker 3: My parents would buy it in Germany and they continued 80 00:04:18,560 --> 00:04:20,960 Speaker 3: to buy it in Canada on a regular basis, so 81 00:04:21,120 --> 00:04:24,440 Speaker 3: we always had empty jars of nutella. Anyway, we had 82 00:04:24,520 --> 00:04:26,720 Speaker 3: show and tell one day in the first grade and 83 00:04:26,800 --> 00:04:29,360 Speaker 3: I found a baby garter snake and put it in 84 00:04:29,560 --> 00:04:32,360 Speaker 3: one of the empty jars of nutella and put holes 85 00:04:32,360 --> 00:04:34,839 Speaker 3: in the plastic lid and brought that to school to 86 00:04:34,880 --> 00:04:37,480 Speaker 3: show everyone. The teacher was not happy about it, but 87 00:04:37,520 --> 00:04:40,039 Speaker 3: most of the kids loved it. Anyway. Thanks for the 88 00:04:40,040 --> 00:04:43,920 Speaker 3: great content. Keep doing what you're doing sincerely, Mattee. Well, 89 00:04:43,920 --> 00:04:46,080 Speaker 3: first of all, thank you for the message. Second, I 90 00:04:46,080 --> 00:04:51,200 Speaker 3: think that that is very interesting about the language thing. So, 91 00:04:51,560 --> 00:04:57,120 Speaker 3: if I understand correctly, you grew up initially speaking German, 92 00:04:59,080 --> 00:05:02,920 Speaker 3: I guess German and Slovak at home, but then at 93 00:05:02,960 --> 00:05:06,280 Speaker 3: an early age, just before you turned four, moved and 94 00:05:06,320 --> 00:05:09,800 Speaker 3: you still have some memories of the time when you 95 00:05:09,880 --> 00:05:12,599 Speaker 3: spoke when you were learning to speak German, but now 96 00:05:12,640 --> 00:05:15,360 Speaker 3: you don't speak German at all. Yeah, that is strange. 97 00:05:15,800 --> 00:05:18,960 Speaker 2: I was mostly just distracted by the nutella mentions because 98 00:05:19,000 --> 00:05:21,680 Speaker 2: this this I've never looked into this, but I had 99 00:05:21,760 --> 00:05:24,400 Speaker 2: like a cousin of who's older than me, and I 100 00:05:24,400 --> 00:05:28,280 Speaker 2: remember them traveling to Europe coming back with nutella, and 101 00:05:28,440 --> 00:05:30,640 Speaker 2: I had had no experience with nutella, and it was 102 00:05:30,680 --> 00:05:34,400 Speaker 2: like a thing that had to be acquired in Europe 103 00:05:34,400 --> 00:05:36,719 Speaker 2: and brought back to the States. But you can buy 104 00:05:36,760 --> 00:05:41,200 Speaker 2: nutella everywhere now. And I was trying to like figure out, well, 105 00:05:41,200 --> 00:05:43,719 Speaker 2: when did nutella become widely available in the United States, 106 00:05:43,800 --> 00:05:45,839 Speaker 2: And I don't know. I ended up looking at the 107 00:05:45,960 --> 00:05:49,359 Speaker 2: corporate website, which tells me that positivity is the main ingredient, 108 00:05:49,760 --> 00:05:55,400 Speaker 2: so but it doesn't it was sugar. That's like hazel 109 00:05:55,440 --> 00:06:00,960 Speaker 2: nut and chocolate, right, but also positivity apparently. But I 110 00:06:01,000 --> 00:06:03,680 Speaker 2: couldn't find a ready answer on when they have other 111 00:06:03,760 --> 00:06:07,520 Speaker 2: dates on here. But I'm still scratching my head about 112 00:06:07,520 --> 00:06:10,320 Speaker 2: when this became so widespread. When did it become an 113 00:06:10,320 --> 00:06:15,440 Speaker 2: empire of creamy a hazel nut chocolate goodness? It eludes me. 114 00:06:15,480 --> 00:06:16,680 Speaker 2: We'll have to come back to it. Maybe we'll do 115 00:06:16,720 --> 00:06:20,200 Speaker 2: an Invention episode on chocolate hazel nutspread. 116 00:06:20,080 --> 00:06:23,039 Speaker 3: Honestly, I do remember when I first found out about nutella. 117 00:06:23,160 --> 00:06:26,120 Speaker 3: My reaction was, like, that's a thing that isn't allowed 118 00:06:26,160 --> 00:06:29,360 Speaker 3: to exist. Do you can't have spreadable chocolate like peanut butter? 119 00:06:29,560 --> 00:06:33,640 Speaker 2: That just no, Yeah, I remember my cousin had nutella. 120 00:06:33,800 --> 00:06:38,000 Speaker 2: And then the actual kinderregs, the German style ones where 121 00:06:38,240 --> 00:06:42,120 Speaker 2: you have chocolate encasing a capsule with a toy inside 122 00:06:42,120 --> 00:06:45,040 Speaker 2: of It's something that does not fly in the United States, 123 00:06:45,160 --> 00:06:48,520 Speaker 2: So you can't get that style of kinderreg in recent years, 124 00:06:48,800 --> 00:06:53,320 Speaker 2: during my son's childhood, at least probably before that, you know, 125 00:06:53,600 --> 00:06:57,160 Speaker 2: they introduced the kind that is designed differently where it's 126 00:06:57,160 --> 00:06:59,880 Speaker 2: an egg and then one half contains a spreadable chocolate 127 00:07:00,120 --> 00:07:02,360 Speaker 2: and the other half contains a toy, but there are 128 00:07:02,360 --> 00:07:04,760 Speaker 2: no toys inside of chocolate shells. 129 00:07:05,040 --> 00:07:06,839 Speaker 3: Is there positivity in there somewhere? 130 00:07:07,160 --> 00:07:09,680 Speaker 2: It depends on the toy, you know. It varies wildly. 131 00:07:10,080 --> 00:07:12,360 Speaker 2: All right, let's move on to another one. This one 132 00:07:12,360 --> 00:07:20,520 Speaker 2: comes to us from Jess. Jess rights to be honest 133 00:07:20,560 --> 00:07:22,800 Speaker 2: with you, I couldn't even pretend to know what my 134 00:07:22,840 --> 00:07:26,160 Speaker 2: first memory is. I've often pondered that fact and thought 135 00:07:26,200 --> 00:07:29,360 Speaker 2: it very strange that I couldn't. When forced, I can 136 00:07:29,360 --> 00:07:32,120 Speaker 2: summon a sort of memory, but I've never really felt 137 00:07:32,200 --> 00:07:34,880 Speaker 2: it to be real. It's a memory of crawling into 138 00:07:34,920 --> 00:07:37,560 Speaker 2: my big brother's bedroom, all the way across the single 139 00:07:37,600 --> 00:07:40,040 Speaker 2: wide trailer I grew up in. At the same time, 140 00:07:40,080 --> 00:07:42,640 Speaker 2: I recall a specific picture of me setting on the 141 00:07:42,640 --> 00:07:45,640 Speaker 2: floor of my brother's bedroom, holding a toy gun of 142 00:07:45,760 --> 00:07:48,520 Speaker 2: his and sporting a grin on my face. Because of 143 00:07:48,560 --> 00:07:52,160 Speaker 2: this picture, I almost feel a sort of disembodied sensation 144 00:07:52,240 --> 00:07:54,920 Speaker 2: about the memory when I try and summon it. Now 145 00:07:54,960 --> 00:07:57,040 Speaker 2: that I think about it, I'm not entirely certain as 146 00:07:57,080 --> 00:08:00,480 Speaker 2: to whether it's the potentially false memory it's self that 147 00:08:00,560 --> 00:08:05,520 Speaker 2: causes the sensation, or the picture. Having been forced to 148 00:08:05,600 --> 00:08:08,840 Speaker 2: have a third person perspective on something that my memory 149 00:08:08,920 --> 00:08:12,800 Speaker 2: allegedly recalls as being experienced as first person. I wonder 150 00:08:12,840 --> 00:08:15,560 Speaker 2: how much that sort of thing influences our ability to 151 00:08:15,560 --> 00:08:18,840 Speaker 2: recall memories, or whether it might influence us to recall 152 00:08:19,000 --> 00:08:22,600 Speaker 2: false memories. Anyway, thanks for making my electric brain meat 153 00:08:22,800 --> 00:08:28,160 Speaker 2: cogitate in new and interesting ways. Yeah, this whole subject 154 00:08:28,280 --> 00:08:32,720 Speaker 2: of remembered photographs is fascinating when you think of that, 155 00:08:34,440 --> 00:08:37,959 Speaker 2: a thing that certainly did not exist for the vast 156 00:08:37,960 --> 00:08:41,280 Speaker 2: majority of human history and the history of human memories. 157 00:08:42,200 --> 00:08:45,439 Speaker 2: But here is this thing that is, you know, generally 158 00:08:45,440 --> 00:08:48,679 Speaker 2: considered to be like this one hundred percent accurate, you know, 159 00:08:48,720 --> 00:08:53,240 Speaker 2: with an asterisk there, of course, snapshot of a moment 160 00:08:53,320 --> 00:08:58,400 Speaker 2: in time, and then how that influences our highly malleable 161 00:08:58,480 --> 00:09:01,760 Speaker 2: memory of and and of course, at times the lacking 162 00:09:01,840 --> 00:09:03,920 Speaker 2: memory of our early life. 163 00:09:04,080 --> 00:09:07,800 Speaker 3: Yeah, thank you, Jess. Okay, this next message is from Jonathan. 164 00:09:12,800 --> 00:09:15,440 Speaker 3: Jonathan says, I'm just catching up on episodes after a 165 00:09:15,480 --> 00:09:17,840 Speaker 3: period of life changes that kept me off my regular 166 00:09:17,880 --> 00:09:21,120 Speaker 3: listening schedule and have just finished part one of Before 167 00:09:21,200 --> 00:09:24,240 Speaker 3: you could remember It might be connected with having gone 168 00:09:24,320 --> 00:09:28,160 Speaker 3: through those life changes that thinking about our earliest memories 169 00:09:28,160 --> 00:09:31,080 Speaker 3: put me in mind of something else. What are the 170 00:09:31,480 --> 00:09:35,360 Speaker 3: through connections between the way we remember ourselves in those 171 00:09:35,480 --> 00:09:39,920 Speaker 3: memories and our current experience remembering them. Presumably we are 172 00:09:40,000 --> 00:09:44,360 Speaker 3: now adults, even young adults, and very different physically and mentally. 173 00:09:44,480 --> 00:09:46,880 Speaker 3: It's easy to think about the situation as a ship 174 00:09:46,880 --> 00:09:50,200 Speaker 3: of theseus thought experiment. What is the real me and 175 00:09:50,240 --> 00:09:54,000 Speaker 3: the real ship? Belated congratulations to Joe and Rachel on 176 00:09:54,080 --> 00:09:56,679 Speaker 3: their parenthood. I can guarantee it will enrich both of 177 00:09:56,720 --> 00:09:59,840 Speaker 3: your lives. And congrats to your daughter. Great choice of parents, 178 00:10:00,600 --> 00:10:03,720 Speaker 3: Best Jonathan. Thanks Jonathan, This is a really good question, 179 00:10:04,400 --> 00:10:07,720 Speaker 3: the ship of theseus question about ourselves and memories. Is 180 00:10:07,760 --> 00:10:11,320 Speaker 3: the person you're remembering from years ago really yourself in 181 00:10:11,360 --> 00:10:14,600 Speaker 3: a meaningful way? And how do the differences between those 182 00:10:14,640 --> 00:10:17,920 Speaker 3: two people affect what it means to remember? In fact, 183 00:10:18,000 --> 00:10:21,839 Speaker 3: we got another message along these lines from Scott rob 184 00:10:21,880 --> 00:10:23,280 Speaker 3: If you don't mind, I'm going to read this too, 185 00:10:23,320 --> 00:10:26,640 Speaker 3: because it's on a similar subject. Go for it, Scott 186 00:10:26,640 --> 00:10:29,280 Speaker 3: says Hi writing into comment on your recent episodes on 187 00:10:29,320 --> 00:10:32,320 Speaker 3: the subject of memory, formation and children, and now the 188 00:10:32,360 --> 00:10:35,800 Speaker 3: most recent listener mail, where a listener reports memories related 189 00:10:35,840 --> 00:10:38,960 Speaker 3: to sinse one thing that your episodes, and the listener 190 00:10:39,040 --> 00:10:41,880 Speaker 3: mail from Rose made me think of is how as 191 00:10:41,920 --> 00:10:46,320 Speaker 3: a child grows, their body schema updates rather quickly compared 192 00:10:46,320 --> 00:10:50,280 Speaker 3: to the speed of any normally expected updates in later life. 193 00:10:50,800 --> 00:10:54,160 Speaker 3: I think it's possible that old memories may become impossible 194 00:10:54,200 --> 00:10:57,880 Speaker 3: to decode due to that rapid change in one's body 195 00:10:57,920 --> 00:11:01,960 Speaker 3: schema as one transitions from a completely helpless infant body 196 00:11:02,320 --> 00:11:05,600 Speaker 3: into what in most cases is a less vulnerable body. 197 00:11:06,000 --> 00:11:09,000 Speaker 3: My thinking here is that as the infant body grows 198 00:11:09,040 --> 00:11:12,760 Speaker 3: into an adult body, the perceptions of the individual's surroundings 199 00:11:12,760 --> 00:11:16,679 Speaker 3: are changing so drastically that the brain can't later make 200 00:11:16,720 --> 00:11:19,840 Speaker 3: sense of any potentially stored memories from the earlier period 201 00:11:19,920 --> 00:11:23,160 Speaker 3: of life in the quote old body, once an individual 202 00:11:23,240 --> 00:11:26,360 Speaker 3: is well out of infancy. This change in perspective and 203 00:11:26,480 --> 00:11:29,400 Speaker 3: sensations from an infant who can hardly move on its 204 00:11:29,440 --> 00:11:32,760 Speaker 3: own to a child moving about freely and inspecting the 205 00:11:32,800 --> 00:11:35,920 Speaker 3: world on their own terms from multiple points of view 206 00:11:36,240 --> 00:11:39,760 Speaker 3: can be compared to attempting memory recall with a human 207 00:11:39,800 --> 00:11:43,960 Speaker 3: body from memories formed and stored using the sensory experiences 208 00:11:44,000 --> 00:11:47,520 Speaker 3: and hardware of a dog body. This chimera analogy may 209 00:11:47,559 --> 00:11:49,439 Speaker 3: be a bit of a stretch, but hopefully it helps 210 00:11:49,440 --> 00:11:52,040 Speaker 3: get across the idea I'm trying for here. The idea 211 00:11:52,040 --> 00:11:54,240 Speaker 3: has no backing I'm aware of, just some thoughts on 212 00:11:54,280 --> 00:11:57,120 Speaker 3: the episodes. Thank you for the show and idea flows. 213 00:11:57,840 --> 00:12:03,280 Speaker 2: Hmmm, now that's fascinating. I mean, our body scheme is 214 00:12:03,320 --> 00:12:06,079 Speaker 2: pretty amazing, but we also have such an amazing ability 215 00:12:06,120 --> 00:12:10,679 Speaker 2: to update it to make a tool of varying complexity 216 00:12:10,720 --> 00:12:13,040 Speaker 2: a part of our body and an extension of our body. 217 00:12:13,720 --> 00:12:15,840 Speaker 2: And I don't think I've ever read anything about it, 218 00:12:16,520 --> 00:12:20,440 Speaker 2: you know, leading to distortions of memory per se. This 219 00:12:20,480 --> 00:12:22,680 Speaker 2: would have been a good one to potentially ask David 220 00:12:22,720 --> 00:12:25,040 Speaker 2: Eagleman about because I know one of the things that 221 00:12:25,320 --> 00:12:28,120 Speaker 2: he's discussed in his book Live Wired is the idea 222 00:12:28,240 --> 00:12:32,480 Speaker 2: of plugging in new senses to the human brain. And 223 00:12:32,520 --> 00:12:35,560 Speaker 2: then his argument is that the brain can then make 224 00:12:35,679 --> 00:12:39,679 Speaker 2: use of those new information feeds and that has an 225 00:12:39,720 --> 00:12:43,839 Speaker 2: impact on just your entire mindset and your entire shape 226 00:12:43,840 --> 00:12:49,640 Speaker 2: of your consciousness. And would that have any change any 227 00:12:49,679 --> 00:12:53,560 Speaker 2: effect on your memory? I would tend to suspect it wouldn't, 228 00:12:53,600 --> 00:12:56,280 Speaker 2: but Eagleman would have been the one to ask about it. 229 00:12:56,360 --> 00:12:58,200 Speaker 2: You have to write into him. But of course what 230 00:12:58,240 --> 00:13:00,480 Speaker 2: we would be talking about here in this example that's 231 00:13:00,480 --> 00:13:04,360 Speaker 2: brought to mind is something that would occur as part 232 00:13:04,520 --> 00:13:07,360 Speaker 2: of growing out of childhood into adulthood, and not because 233 00:13:07,400 --> 00:13:10,360 Speaker 2: as an adult you suddenly started using some sort of 234 00:13:10,360 --> 00:13:14,280 Speaker 2: complex tool or decided to plug the stock exchange directly 235 00:13:14,280 --> 00:13:15,560 Speaker 2: into your brain. Well. 236 00:13:15,640 --> 00:13:17,840 Speaker 3: Yeah, one of the things I think highlighted in this 237 00:13:17,880 --> 00:13:21,679 Speaker 3: email that does seem relevant to me is the distinction 238 00:13:22,040 --> 00:13:26,800 Speaker 3: of basically the adaptation for agency as you get older, 239 00:13:26,840 --> 00:13:29,760 Speaker 3: like as you can move on your own or really 240 00:13:29,800 --> 00:13:32,480 Speaker 3: even as you can start using your hands for things, 241 00:13:32,920 --> 00:13:37,040 Speaker 3: there's an increasing awareness I'm sure that you can act 242 00:13:37,160 --> 00:13:40,520 Speaker 3: upon the outside world, whereas in you know, when you're 243 00:13:41,000 --> 00:13:44,520 Speaker 3: just a newborn, you can't really do anything. The world 244 00:13:44,600 --> 00:13:46,959 Speaker 3: just sort of acts upon you, and then you can 245 00:13:46,960 --> 00:13:49,000 Speaker 3: only do a few things. You know, you can like cry, 246 00:13:49,160 --> 00:13:51,120 Speaker 3: and you can suck and things like that, but you 247 00:13:51,160 --> 00:13:54,440 Speaker 3: really you can't like move, you can't like I want 248 00:13:54,480 --> 00:13:56,720 Speaker 3: to know about this to go over and look at it. 249 00:13:56,840 --> 00:13:59,200 Speaker 3: You can't talk, you can't you know what I mean. 250 00:13:59,679 --> 00:14:03,360 Speaker 2: Yeah, the crying is pretty effective though, Yeah, but. 251 00:14:03,360 --> 00:14:06,600 Speaker 3: Yeah, anyway, I mean I wonder if as you mature, 252 00:14:07,240 --> 00:14:10,600 Speaker 3: your increasing awareness of your ability not just to exist 253 00:14:10,600 --> 00:14:13,560 Speaker 3: in the world, but to act upon the world, to 254 00:14:14,160 --> 00:14:17,760 Speaker 3: you know, move about freely and to change things by 255 00:14:17,800 --> 00:14:22,160 Speaker 3: your own volition. If that changes your cognition so radically 256 00:14:22,320 --> 00:14:24,760 Speaker 3: that I don't know that it would be it would 257 00:14:24,800 --> 00:14:28,200 Speaker 3: be hard to make sense of experiences from before that. Yeah, 258 00:14:28,400 --> 00:14:29,600 Speaker 3: that makes sense to me. 259 00:14:30,360 --> 00:14:34,280 Speaker 2: Yeah, yeah, it's a It's wonderful, thought provoking idea, that's 260 00:14:34,280 --> 00:14:45,480 Speaker 2: for sure. All right. Before we go into the next listener, mail, 261 00:14:45,840 --> 00:14:48,640 Speaker 2: I do have to quickly refer to The Daily Beast 262 00:14:49,120 --> 00:14:53,160 Speaker 2: to a twenty seventeen article how Nutella Conquered America by 263 00:14:53,200 --> 00:14:59,480 Speaker 2: Emily Schier. I found a partial answer quote, but Nutella's 264 00:14:59,520 --> 00:15:01,800 Speaker 2: path to a American hearts has been far slower and 265 00:15:01,880 --> 00:15:05,480 Speaker 2: more meandering than its European route to success. After appearing 266 00:15:05,520 --> 00:15:08,920 Speaker 2: on supermarket shelves in the Northeast as early as nineteen 267 00:15:08,920 --> 00:15:11,360 Speaker 2: eighty three, it would be decades before it had the 268 00:15:11,440 --> 00:15:13,600 Speaker 2: kind of fan base that might spend a work day 269 00:15:13,920 --> 00:15:17,760 Speaker 2: morning queued up to celebrate its existence. So there you go. 270 00:15:17,880 --> 00:15:21,120 Speaker 2: Partial answer eighty three is maybe when it starts really 271 00:15:21,200 --> 00:15:23,480 Speaker 2: creeping into some markets, but it's still going to be 272 00:15:23,480 --> 00:15:25,880 Speaker 2: a couple of decades after that before. It's just really 273 00:15:25,920 --> 00:15:29,200 Speaker 2: widespread and popular in the United States. So that kind 274 00:15:29,240 --> 00:15:32,760 Speaker 2: of explains some of these my experience and part of 275 00:15:32,760 --> 00:15:36,080 Speaker 2: that listener mail about nutella being a primarily a European 276 00:15:36,120 --> 00:15:36,920 Speaker 2: thing at the time. 277 00:15:37,400 --> 00:15:40,080 Speaker 3: I've never lived in the Northeast, but I don't recall 278 00:15:40,120 --> 00:15:45,040 Speaker 3: seeing nutella any on supermarket shelves or anywhere really until 279 00:15:45,280 --> 00:15:47,239 Speaker 3: I don't know, probably the late two thousands. 280 00:15:47,880 --> 00:15:49,600 Speaker 2: Yeah, yeah, that would that would make sense. That'd be 281 00:15:49,600 --> 00:15:52,280 Speaker 2: about when I would have begun to notice it. But 282 00:15:52,400 --> 00:15:54,240 Speaker 2: it's one of those things where like at the time, 283 00:15:54,280 --> 00:15:56,240 Speaker 2: I was just like, oh, I guess nutella has always 284 00:15:56,280 --> 00:15:59,840 Speaker 2: been around, and I just wasn't very observant like before that, 285 00:16:00,960 --> 00:16:03,960 Speaker 2: you know, I didn't really put those those memories of 286 00:16:04,000 --> 00:16:06,040 Speaker 2: my cousin bringing it back from Europe on trial and 287 00:16:06,360 --> 00:16:07,280 Speaker 2: really think about it. 288 00:16:07,600 --> 00:16:10,040 Speaker 3: The family that I grew up knowing that I associate 289 00:16:10,040 --> 00:16:12,440 Speaker 3: with nutella were like euro traveling people. 290 00:16:13,240 --> 00:16:17,000 Speaker 2: Yeah, yeah, it was. It was like having like frankencense 291 00:16:17,120 --> 00:16:17,920 Speaker 2: or something on hand. 292 00:16:18,320 --> 00:16:22,520 Speaker 3: It's like, yeah, here's here's a box of Underberg shooters 293 00:16:21,960 --> 00:16:25,040 Speaker 3: and some some neutella. 294 00:16:25,640 --> 00:16:28,080 Speaker 2: All right. This next listener mail message comes to us 295 00:16:28,080 --> 00:16:30,920 Speaker 2: from Chris. Chris wrights, since says Hi, Joe and Robert. 296 00:16:31,120 --> 00:16:33,360 Speaker 2: I just finished listening to your series on childhood memory, 297 00:16:33,360 --> 00:16:35,160 Speaker 2: and I thought I would share an experience of mine. 298 00:16:35,600 --> 00:16:37,320 Speaker 2: When I was maybe six to ten years old, I 299 00:16:37,320 --> 00:16:40,880 Speaker 2: would have occasional nightmares about being chased down by construction equipment, 300 00:16:41,080 --> 00:16:45,120 Speaker 2: specifically backos, front end loader types of things. They would 301 00:16:45,200 --> 00:16:48,120 Speaker 2: have the bucket at the front with arms that could 302 00:16:48,160 --> 00:16:50,960 Speaker 2: grab me, and I don't really recall what happened next 303 00:16:51,000 --> 00:16:55,040 Speaker 2: apart from being scared. My parents have an excavation business, 304 00:16:55,320 --> 00:16:57,480 Speaker 2: so I was very familiar with this type of equipment 305 00:16:57,480 --> 00:16:59,960 Speaker 2: and knew to be safe around it. It definitely wasn't 306 00:17:00,080 --> 00:17:03,080 Speaker 2: something that should have caused fear. By eight, I was 307 00:17:03,120 --> 00:17:06,400 Speaker 2: comfortable driving a back hoe. I later learned that when 308 00:17:06,400 --> 00:17:08,960 Speaker 2: I was around one year old that I was involved 309 00:17:08,960 --> 00:17:11,320 Speaker 2: in an accident. Dad was working with the back ho 310 00:17:11,520 --> 00:17:14,600 Speaker 2: with the rear wheels up. If you're not aware, when 311 00:17:14,640 --> 00:17:17,400 Speaker 2: working with the hoe, use rams to lift the rear 312 00:17:17,440 --> 00:17:20,520 Speaker 2: wheels for stability. Apparently I tried to climb up to 313 00:17:20,640 --> 00:17:24,200 Speaker 2: Dad and fell and was struck by the wheel. I'm 314 00:17:24,240 --> 00:17:26,280 Speaker 2: not really sure what happened. I don't remember beyond what 315 00:17:26,320 --> 00:17:28,280 Speaker 2: my parents have told me. I ended up with a 316 00:17:28,320 --> 00:17:31,160 Speaker 2: broken pelvis and not being able to walk until months later. 317 00:17:31,560 --> 00:17:33,960 Speaker 2: I've always wondered if the two things were connected. Was 318 00:17:34,480 --> 00:17:38,080 Speaker 2: there part of my brain that remembered when I consciously 319 00:17:38,160 --> 00:17:41,119 Speaker 2: could not? Anyway, your series prompted me to ride in 320 00:17:41,240 --> 00:17:44,040 Speaker 2: as always. Thanks for the content. I look forward to 321 00:17:44,080 --> 00:17:46,600 Speaker 2: it each week, even if I wait until series are 322 00:17:46,640 --> 00:17:48,080 Speaker 2: completed before listening to them. 323 00:17:48,240 --> 00:17:53,280 Speaker 3: Chris, Well, thanks Chris. That is interesting. Yeah, so like 324 00:17:53,440 --> 00:17:56,800 Speaker 3: you wonder if somehow the memory inspired the dream even 325 00:17:56,800 --> 00:17:59,240 Speaker 3: though you couldn't consciously remember the memory. 326 00:18:00,320 --> 00:18:03,320 Speaker 2: Yeah, yeah, it's an interesting argument to me made there. 327 00:18:03,359 --> 00:18:06,520 Speaker 2: I mean, obviously there are different memory systems in the 328 00:18:06,520 --> 00:18:09,920 Speaker 2: brain and when you know when parts of the when 329 00:18:10,000 --> 00:18:14,679 Speaker 2: when one memory system is impacted by one condition or another, 330 00:18:15,480 --> 00:18:19,320 Speaker 2: sometimes we fall back on another memory system. So yeah, 331 00:18:19,400 --> 00:18:21,360 Speaker 2: it's an interesting thought here. 332 00:18:21,840 --> 00:18:23,320 Speaker 3: All right, Well, I think we're gonna have to cap 333 00:18:23,359 --> 00:18:27,040 Speaker 3: it there on the before you could remember messages for today, 334 00:18:27,080 --> 00:18:29,280 Speaker 3: but we will keep reading through as many of them 335 00:18:29,280 --> 00:18:31,719 Speaker 3: as we can get to in subsequent weeks as we 336 00:18:31,840 --> 00:18:34,520 Speaker 3: as we move on down the road. But before we 337 00:18:34,560 --> 00:18:36,560 Speaker 3: wrap up today, we also wanted to do a bit 338 00:18:36,560 --> 00:18:37,959 Speaker 3: of weird house cinema email. 339 00:18:38,320 --> 00:18:40,640 Speaker 2: All right, Yeah, let's jump into it. This one comes 340 00:18:40,680 --> 00:18:48,040 Speaker 2: to us from Michael. Michael says, Hello, Joe and Rod. 341 00:18:48,280 --> 00:18:50,840 Speaker 2: I admit I usually skip the Weird House Cinema episodes, 342 00:18:51,080 --> 00:18:53,480 Speaker 2: but you've drawn me in again with this one. It's 343 00:18:53,480 --> 00:18:55,320 Speaker 2: just not my cup of tea to listen about movies 344 00:18:55,320 --> 00:18:57,560 Speaker 2: I've never seen. But I'm a child of the eighties, 345 00:18:57,880 --> 00:19:01,000 Speaker 2: so of course I've seen The never Ending Story. I 346 00:19:01,080 --> 00:19:03,160 Speaker 2: just wanted to share a thought on the comment about 347 00:19:03,160 --> 00:19:06,480 Speaker 2: it being strained. The narrator changed at some point during 348 00:19:06,480 --> 00:19:09,320 Speaker 2: the film. I haven't seen the movie recently, but I 349 00:19:09,359 --> 00:19:11,840 Speaker 2: remember it well. It may just be a plot hole, 350 00:19:11,880 --> 00:19:14,600 Speaker 2: but perhaps they changed the narrator at the point that 351 00:19:14,680 --> 00:19:18,760 Speaker 2: Bastian becomes part of the story. At the beginning, he's 352 00:19:18,800 --> 00:19:21,960 Speaker 2: reading the book and there's no expectation that anyone other 353 00:19:22,000 --> 00:19:26,040 Speaker 2: than him is taking us the viewer through the story. Later, 354 00:19:26,119 --> 00:19:29,080 Speaker 2: Bastian starts to leak into the story, or the story 355 00:19:29,200 --> 00:19:33,040 Speaker 2: starts to leak into Bastian's world. At that point, it 356 00:19:33,040 --> 00:19:35,960 Speaker 2: would be sensible to have a new narrator that is 357 00:19:36,000 --> 00:19:39,960 Speaker 2: now describing the whole world, including what's happening with Bastian 358 00:19:40,080 --> 00:19:43,360 Speaker 2: and Atreyu. It would be a complete misunderstanding. It could 359 00:19:43,400 --> 00:19:46,320 Speaker 2: be a complete misunderstanding on my part, But if I'm right, 360 00:19:46,440 --> 00:19:48,520 Speaker 2: I think that would be a pretty cool nuance to 361 00:19:48,560 --> 00:19:51,520 Speaker 2: the storytelling best Michael good insight. 362 00:19:51,880 --> 00:19:53,119 Speaker 3: Yeah, that makes sense to me. 363 00:19:53,480 --> 00:19:57,320 Speaker 2: Yeah, I think I think my any confusion I had 364 00:19:57,359 --> 00:20:00,360 Speaker 2: on it was probably colored by watching too many films 365 00:20:00,880 --> 00:20:05,160 Speaker 2: that are are less well executed, because I know I've 366 00:20:05,240 --> 00:20:09,199 Speaker 2: encountered a film or two before that have multiple narrators 367 00:20:09,200 --> 00:20:12,600 Speaker 2: in them. But I don't think there's any like high 368 00:20:12,600 --> 00:20:16,320 Speaker 2: concept behind it. It's just at some point they're like, 369 00:20:16,359 --> 00:20:19,040 Speaker 2: I think we need narration here, all right, let's add 370 00:20:19,080 --> 00:20:22,360 Speaker 2: some and then they forget that they have another narrator 371 00:20:22,400 --> 00:20:24,199 Speaker 2: elsewhere in the film, or they're like, well, you need 372 00:20:24,240 --> 00:20:26,679 Speaker 2: another narrator, let's get this character in. 373 00:20:27,280 --> 00:20:29,919 Speaker 3: When I think of intrusive narration, I think of the 374 00:20:30,040 --> 00:20:33,240 Speaker 3: abrupt ending of the animated Lord of the Rings movie, 375 00:20:33,359 --> 00:20:36,119 Speaker 3: where you know they they're nowhere near the end of 376 00:20:36,119 --> 00:20:39,280 Speaker 3: the story, but suddenly and thus concludes the tale of 377 00:20:39,359 --> 00:20:41,000 Speaker 3: the Lord of the Rings. 378 00:20:42,200 --> 00:20:44,280 Speaker 2: Oh man, I haven't seen it, and forever so I 379 00:20:44,480 --> 00:20:46,520 Speaker 2: forgot about that. I keep trying to get my son 380 00:20:46,560 --> 00:20:49,679 Speaker 2: to watch it, or to finish the book. The books 381 00:20:49,720 --> 00:20:52,040 Speaker 2: with me, but he's just like he really enjoyed the Hobbit, 382 00:20:52,520 --> 00:20:55,280 Speaker 2: and I just can't get him interested again in the 383 00:20:55,280 --> 00:20:56,359 Speaker 2: Lord of the Rings just yet. 384 00:20:56,720 --> 00:20:59,160 Speaker 3: All Right, I think I'm gonna do this message from Daniel. 385 00:20:59,240 --> 00:21:06,600 Speaker 3: If you don't mind, go for it, Daniel says, dear 386 00:21:06,720 --> 00:21:09,280 Speaker 3: Robin Joe. I listened with interest to your Weird House 387 00:21:09,280 --> 00:21:15,120 Speaker 3: Cinema episode on the Incredible Shrinking Man. This brought up 388 00:21:15,640 --> 00:21:18,879 Speaker 3: many nostalgic memories for me, as I had this film 389 00:21:19,080 --> 00:21:22,280 Speaker 3: along with it came from outer space and many others 390 00:21:22,359 --> 00:21:27,080 Speaker 3: on two hundred and four hundred foot condensed eight millimeter film, 391 00:21:27,440 --> 00:21:32,000 Speaker 3: and some full length feature movies on sixteen millimeter sound parentheses. 392 00:21:32,040 --> 00:21:35,520 Speaker 3: The sixteen millimeter was due to my media connections back 393 00:21:35,560 --> 00:21:37,640 Speaker 3: in the set. By the way, what he's about to say, 394 00:21:37,640 --> 00:21:41,119 Speaker 3: I had no idea about this. Back in the nineteen seventies, 395 00:21:41,359 --> 00:21:43,960 Speaker 3: you could buy two hundred foot and four hundred foot 396 00:21:44,000 --> 00:21:48,240 Speaker 3: that is, ten and twenty minute condensed versions of movies. 397 00:21:48,800 --> 00:21:52,120 Speaker 3: These were optically printed from the thirty five or seventy 398 00:21:52,119 --> 00:21:56,080 Speaker 3: millimeter releases and so were at the sound speed of 399 00:21:56,160 --> 00:21:59,200 Speaker 3: twenty four frames per second. Even though most were silent 400 00:21:59,280 --> 00:22:02,639 Speaker 3: with captions, most people saw these films at the slow 401 00:22:02,760 --> 00:22:06,359 Speaker 3: lethargic silent speed of eighteen frames per second, as they 402 00:22:06,400 --> 00:22:09,960 Speaker 3: did not have sound equipment. These reels usually contained the 403 00:22:10,000 --> 00:22:14,160 Speaker 3: most exciting action scenes with just enough context to sometimes 404 00:22:14,240 --> 00:22:17,280 Speaker 3: guess what the movie was about. I remember the mix 405 00:22:17,359 --> 00:22:20,040 Speaker 3: of large and small elements in The Shrinking Man to 406 00:22:20,080 --> 00:22:22,560 Speaker 3: be very well done by the standards of the time. 407 00:22:23,080 --> 00:22:26,119 Speaker 3: The other movie you mentioned was It Came from Outer Space. 408 00:22:26,359 --> 00:22:29,040 Speaker 3: I had it on two hundred foot silent Standard eight 409 00:22:29,119 --> 00:22:33,320 Speaker 3: with captions. It was also one I remember being visually stunning, 410 00:22:33,400 --> 00:22:37,480 Speaker 3: with lots of rotoscoping, laser and killer ray effects. Anyway, 411 00:22:37,520 --> 00:22:39,720 Speaker 3: thank you for the memories. I'd forgotten about both of 412 00:22:39,760 --> 00:22:43,040 Speaker 3: these until I heard your show, as I long since 413 00:22:43,080 --> 00:22:45,520 Speaker 3: have gone out of film. The last time I actually 414 00:22:45,560 --> 00:22:48,520 Speaker 3: shot cinema film was in two thousand and one, and 415 00:22:48,800 --> 00:22:50,760 Speaker 3: I assume he means the year two thousand and one, 416 00:22:50,840 --> 00:22:53,119 Speaker 3: not the movie two thousand and one. And it costs 417 00:22:53,160 --> 00:22:57,200 Speaker 3: two dollars a second to use once you accounted for processing, etc. 418 00:22:57,880 --> 00:22:58,960 Speaker 3: Cheers Daniel. 419 00:23:00,080 --> 00:23:04,880 Speaker 2: Oh, some fascinating av details, nice too. 420 00:23:04,960 --> 00:23:09,080 Speaker 3: Yeah, so ten or twenty minute condensed versions of movies 421 00:23:09,280 --> 00:23:13,760 Speaker 3: on film. I wonder how those were mainly used I mean, 422 00:23:13,760 --> 00:23:16,240 Speaker 3: do people literally just like buy them for entertainment to 423 00:23:16,240 --> 00:23:17,200 Speaker 3: project them at home. 424 00:23:17,640 --> 00:23:20,600 Speaker 2: I mean, maybe in the nineteen seventies people were like, look, 425 00:23:20,800 --> 00:23:22,639 Speaker 2: we've made a lot of films by this point, but 426 00:23:22,760 --> 00:23:27,080 Speaker 2: maybe it's not employ impossible to catch up with all 427 00:23:27,200 --> 00:23:29,280 Speaker 2: the movies that have come out. If we just get 428 00:23:29,320 --> 00:23:32,639 Speaker 2: some shorter cuts of these films, then we'll be okay. 429 00:23:32,760 --> 00:23:36,399 Speaker 2: And then later, you know, by decades later, you're just like, well, 430 00:23:36,440 --> 00:23:38,040 Speaker 2: I'll never see all the films I want to see, 431 00:23:38,280 --> 00:23:40,800 Speaker 2: no matter what the cut happens to be. I'm just 432 00:23:40,840 --> 00:23:43,359 Speaker 2: gonna have to accept the fact that I'll never see 433 00:23:43,440 --> 00:23:44,639 Speaker 2: I don't know, Funky Monkey. 434 00:23:45,280 --> 00:23:48,119 Speaker 3: Fortunately, though, Rob, You're gonna see all of Funky Monkey 435 00:23:48,160 --> 00:23:51,760 Speaker 3: when we do it on Weird House Cinema. Yeah, okay, 436 00:23:51,760 --> 00:23:53,800 Speaker 3: So you can imagine what might be in the ten 437 00:23:53,840 --> 00:23:56,200 Speaker 3: minute cut of The Incredible Shrinking Man. You had missed 438 00:23:56,200 --> 00:23:59,200 Speaker 3: a lot of the great character drama and those aspects 439 00:23:59,200 --> 00:24:01,800 Speaker 3: of the story. Uh, there's probably like the fight with 440 00:24:01,880 --> 00:24:04,560 Speaker 3: the spider or the confrontation with the cat or whatever. 441 00:24:05,320 --> 00:24:07,119 Speaker 3: What do you think would be in the ten minute 442 00:24:07,160 --> 00:24:09,639 Speaker 3: condensed version of Attack of the Puppet People? 443 00:24:10,720 --> 00:24:12,760 Speaker 2: Oh? Well, I mean it would be a it would 444 00:24:12,760 --> 00:24:14,840 Speaker 2: be easier to cut that one down. I think just 445 00:24:14,840 --> 00:24:18,560 Speaker 2: because there's there's there's a there's a maybe a little 446 00:24:18,560 --> 00:24:20,800 Speaker 2: more wasted space, there's a little more uh you know, 447 00:24:20,960 --> 00:24:22,640 Speaker 2: fat on the bone in that one that you could 448 00:24:22,640 --> 00:24:26,000 Speaker 2: potentially trim. Uh you know, you'd want all those special 449 00:24:26,000 --> 00:24:29,520 Speaker 2: effect shots in there, but you can maybe maybe cut 450 00:24:29,560 --> 00:24:31,359 Speaker 2: a lot of the meandering around the office. 451 00:24:31,600 --> 00:24:33,560 Speaker 3: Yeah, you'd have the scene where the puppet people are 452 00:24:33,640 --> 00:24:36,560 Speaker 3: running around while mister Franz is like telling his friend 453 00:24:36,560 --> 00:24:38,439 Speaker 3: to go away so he can get back to his 454 00:24:38,520 --> 00:24:39,240 Speaker 3: living dolls. 455 00:24:39,840 --> 00:24:40,040 Speaker 2: Yeah. 456 00:24:41,680 --> 00:24:43,840 Speaker 3: Or oh, the scene where John Agar beats up the 457 00:24:43,880 --> 00:24:45,159 Speaker 3: puppet that's got to be in the. 458 00:24:45,920 --> 00:24:49,000 Speaker 2: Oh, well, that's that's that's key, that's that's that's an 459 00:24:49,000 --> 00:24:51,320 Speaker 2: important moment in the film. All right, let's do one 460 00:24:51,400 --> 00:24:53,439 Speaker 2: last Weird House Cinema listener mail. This one comes to 461 00:24:53,480 --> 00:25:00,960 Speaker 2: us from Alena. Elena says, Robert and Joke, thanks for 462 00:25:00,960 --> 00:25:03,920 Speaker 2: the great podcast. I have a couple of movie recommendations 463 00:25:03,960 --> 00:25:08,919 Speaker 2: for weird House Cinema. The Troehlenberg Terror aka Crawling I 464 00:25:09,440 --> 00:25:12,840 Speaker 2: nineteen fifty eight. The creature is a giant eyeball with 465 00:25:12,920 --> 00:25:16,400 Speaker 2: tentacles that kills people in the Swiss Alps, and then 466 00:25:16,520 --> 00:25:19,800 Speaker 2: also Fantastic Voyage nineteen sixty six, a submarine and its 467 00:25:19,840 --> 00:25:22,840 Speaker 2: crew get reduced to microscopic size to enter the human 468 00:25:22,880 --> 00:25:25,440 Speaker 2: body and say a life. 469 00:25:25,520 --> 00:25:28,600 Speaker 3: We always appreciate suggestions for weird house cinema. In fact, 470 00:25:28,640 --> 00:25:31,680 Speaker 3: we have done movies before that were suggested by listeners, 471 00:25:31,680 --> 00:25:34,399 Speaker 3: so never give up. In fact, we did one recently. 472 00:25:34,400 --> 00:25:36,880 Speaker 3: Treasurer of the Four Crowns was a listener suggestion. 473 00:25:37,600 --> 00:25:42,159 Speaker 2: Yeah. Yeah, Like these suggestions sometimes introduce us to something 474 00:25:42,200 --> 00:25:45,560 Speaker 2: that we were not familiar with, or if it's a 475 00:25:45,600 --> 00:25:48,280 Speaker 2: film we're familiar with, sometimes it like bumps, it towards 476 00:25:48,280 --> 00:25:52,440 Speaker 2: the top of the list. So yeah, the crawling I 477 00:25:52,440 --> 00:25:56,359 Speaker 2: I'm trying to remember. Yeah, yeah, this was featured on 478 00:25:56,440 --> 00:25:58,679 Speaker 2: Mystery Science Theater three thousand back in the day, and 479 00:25:58,720 --> 00:26:01,680 Speaker 2: I think it was it was a ktm A episode, 480 00:26:01,680 --> 00:26:03,199 Speaker 2: So I don't know that I've actually seen it, but 481 00:26:03,240 --> 00:26:06,160 Speaker 2: I remember seeing a clip from it in the old 482 00:26:06,280 --> 00:26:10,639 Speaker 2: old intro to MST. And then as far as Fantastic 483 00:26:10,680 --> 00:26:13,720 Speaker 2: Voyage goes, I mean, that's that's a classic. Isaac Asimov 484 00:26:13,760 --> 00:26:17,200 Speaker 2: wrote a novel based on the screenplay, but also worked 485 00:26:17,200 --> 00:26:20,720 Speaker 2: on the screenplay, and I think I read that book 486 00:26:20,760 --> 00:26:24,560 Speaker 2: When I Was a Kid has a pretty strong cast 487 00:26:24,600 --> 00:26:28,440 Speaker 2: as well, and for the time, had some pretty amazing effects. 488 00:26:28,440 --> 00:26:30,399 Speaker 2: But yeah, I wrote, Raquel Welch is in it. Donald 489 00:26:30,400 --> 00:26:33,960 Speaker 2: Pleasants is in it. Author Kennedy is in it. So yeah, 490 00:26:34,000 --> 00:26:35,560 Speaker 2: that would be a fun one to potentially watch. 491 00:26:35,560 --> 00:26:38,359 Speaker 3: At some point when we did our back back Shrink movies, 492 00:26:38,400 --> 00:26:43,760 Speaker 3: I think multiple listeners suggested fantastic voyage. Yeah, so yeah, 493 00:26:43,800 --> 00:26:45,080 Speaker 3: we may have to come back to it. By the way, 494 00:26:45,119 --> 00:26:47,760 Speaker 3: I just looked up the poster for the Crawling Eye 495 00:26:47,800 --> 00:26:51,000 Speaker 3: to see does the eye somehow like is it carrying 496 00:26:51,240 --> 00:26:55,520 Speaker 3: a screaming woman or an unconscious woman? Yep, yep, it is. 497 00:26:55,880 --> 00:26:58,680 Speaker 3: It's an I I guess the tentacles are what's holding her. 498 00:26:59,160 --> 00:27:02,160 Speaker 2: It's kind of like how she's kind of screaming. It's 499 00:27:02,160 --> 00:27:04,359 Speaker 2: almost like the when I look at it, it's like 500 00:27:04,359 --> 00:27:06,280 Speaker 2: the eyes like, I'm not really sure how to pick 501 00:27:06,320 --> 00:27:12,400 Speaker 2: this up. Yeah, my tentacles are not really leadbearing, They're 502 00:27:12,400 --> 00:27:15,719 Speaker 2: more for undulating as I float through the astral plane. 503 00:27:15,960 --> 00:27:18,119 Speaker 2: I don't really know how to how to hold this 504 00:27:18,200 --> 00:27:21,480 Speaker 2: woman in my arms, but the director and the promotions 505 00:27:21,560 --> 00:27:22,880 Speaker 2: team says that I must do it. 506 00:27:23,560 --> 00:27:28,320 Speaker 3: I cannot yet I must Yeah, how do you calculate that? Okay, 507 00:27:28,359 --> 00:27:29,760 Speaker 3: we got to wrap it up there. 508 00:27:30,080 --> 00:27:31,560 Speaker 2: Oh we do. Oh, but I have to point out 509 00:27:31,600 --> 00:27:34,280 Speaker 2: the Janet Monroe is in that film, so that's kind 510 00:27:34,280 --> 00:27:36,760 Speaker 2: of exciting. She was in Darby O'Gill and the Little 511 00:27:36,800 --> 00:27:41,359 Speaker 2: People opposite Sean Connery, which is a film I have 512 00:27:41,440 --> 00:27:44,040 Speaker 2: a lot of affection for. So I don't know. Both 513 00:27:44,040 --> 00:27:46,600 Speaker 2: of these are strong candidates. Maybe we'll come back and 514 00:27:46,680 --> 00:27:47,919 Speaker 2: consider one of them in the future. 515 00:27:48,200 --> 00:27:49,160 Speaker 3: Yeah, I'm on the hook. 516 00:27:49,680 --> 00:27:52,360 Speaker 2: All right, we'll go and shut the book. But we'll 517 00:27:52,359 --> 00:27:54,639 Speaker 2: go ahead and remind you that listener mails every Monday 518 00:27:54,680 --> 00:27:56,679 Speaker 2: and the Stuff to Blue Remind podcast feed core episodes 519 00:27:56,680 --> 00:27:59,000 Speaker 2: on Tuesdays and Thursdays. On Wednesday we do a short 520 00:27:59,000 --> 00:28:02,000 Speaker 2: form monster or artifact episode, and on Fridays we set 521 00:28:02,000 --> 00:28:04,520 Speaker 2: aside most serious concerns to just talk about a weird 522 00:28:04,520 --> 00:28:07,320 Speaker 2: film celebrate a weird film on Weird House Cinema. 523 00:28:07,480 --> 00:28:10,600 Speaker 3: Huge thanks to our audio producer JJ Posway. If you 524 00:28:10,600 --> 00:28:12,680 Speaker 3: would like to get in touch with us with feedback 525 00:28:12,680 --> 00:28:15,080 Speaker 3: on this episode or any other, to suggest topic for 526 00:28:15,119 --> 00:28:17,359 Speaker 3: the future, or just to say hello, you can email 527 00:28:17,440 --> 00:28:27,160 Speaker 3: us at contact at stuff to Blow your Mind dot com. 528 00:28:27,240 --> 00:28:30,199 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 529 00:28:30,280 --> 00:28:33,080 Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app, 530 00:28:33,240 --> 00:28:36,000 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.